PRICE 15 CENTS 




Successful Rural Plays 

A Strong List From Which to Select Your 
Next Play 

TARM FOLKS. A Rural Play in Four Acts, by Arthur 
LEWIS TUBBS. P^or five male and six female characters. Time 
of playing, two hours and a half. One simple exterior, two 
easy interior scenes. Costumes, modern. Flora Goodwin, a 
farmer's daughter, is engaged to Philip Burleigh, a young New 
Yorker. Philip's mother wants him to marry a society woman, 
and by falsehoods makes Flora believe Philip does not love her. 
Dave Weston, who wants Flora himself, helps the deception by 
intercepting a letter from Philip to Flora. She agrees to marry 
Dave, but on the eve of their marriage Dave confesses, Philip 
learns the truth, and he and Flora are reunited. It is a simple 
plot, but full of speeches and situations that sway an audience 
alternately to tears and to laughter. Price, 25 cents. 

HOME TIES. A Rural Play in Four Acts, by Arthur 
Lewis Tubes. Characters, four male, five female. Plays two 
hours and a half. Scene, a simple interior — same for all four 
acts. Costvimes, modern. One of the strongest plays Mr. Tubbs 
has written. Martin Winn's wife left him when his daughter 
Ruth was a baby. Harold Vincent, the nephew and adopted son 
of the man who has wronged Martin, makes love to Ruth Winn. 
She is also loved by Len Everett, a prosperous young farmer. 
When Martin discovers who Harold is, he orders him to leave 
Ruth. Harold, who does not love sincerely, yields. Ruth dis- 
covers she loves Len, but thinks she has lost him also. Then 
he comes back, and Ruth finds her happiness. Price 25 cents. 

THE OLD NEW^ HAMPSHIRE HOME. A New 

England Drama in Three Acts, by Frank Dumont. For seven 
males and four females. Time, two hours and a half. Costumes, 
modern. A play with a strong heart interest and pathos, yet rich 
in humor. Easy to act and very effective. A rural drama of 
the "Old Homstead" and "Way Down East" type. Two ex- 
terior scenes, one interior, all easy to set. Full of strong sit- 
uations and delightfully humorous passages. The kind of a play 
everybody understands and likes. Price, 25 cents. 

THE OLD DAIRY HOMESTEAD. A Rural Comedy 
in Three Acts, by Frank Dumont. For five males and four 
females. Time, two hours. Rural costumes. Scenes rural ex- 
terior and interior. An adventurer obtains a large sum of money 
from a farm house through the intimidation of the farmer's 
niece, whose husband he claims to be. Her escapes from the 
wiles of the villain and his female accomplice are both starting 
and novel. Price, 15 cents. 

A WHITE MOUNTAIN BOY. A Strong Melodrama in 
Five Acts, by Charles Townsend. For seven males and four 
females, and three supers. Time, two hours and twenty minutes. 
One exterior, three interiors. Costumes easy. The hero, a 
country lad, twice saves the life of a banker's daughter, which 
results in their betrothal. A scoundrelly clerk has the banker 
in his power, but the White Mountain boy finds a way to check- 
mate his schemes, saves the banker, and wins the girl. Price 
15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Where Is My Coat? 

A Comedy in One Act 



By 
FRANK DUMONT 

Author of *'Not a Bit Jealous y' *'Hozu a Woman Keeps 
a Seiret,'^ **The Depot Lunch Counter,'' etc. 




PHILADELPHIA 

THE PENN PUBLISHING COMPANY 

19 I 8 



^K\'^ 



4.^" 



Copyright 19 18 by The Penn Publishing Company 



APR I7.J9 



"Where Is My Coat ? 

©CI.D 49362 



where Is My Coat? 



CHARACTERS 

Henry Sweetly - - who is careless about coais 

Mrs. Sweetly his young bride 

Mrs. Abigail Lemmons - - her mother y a widow 
Henry Darcy a7i old bachelor 

Time. — Half an hour. 



STORY OF THE PLAY 

Mr. Henry Sweetly has promised to be home by ten 
o'clock and he has not yet returned. Mrs. Sweetly, 
in tears, is assured by her mother, Mrs. Lemmons, 
that all men are born fabricators. "Wait and see if 
he does not come home and tell you a wonderful fairy 
story." Henry arrives. " My watch stopped." His 
mother-in-law discovers sentimental letters in his 
coat pocket signed " Mabel." " Oh, you deceiving 
wretch ! " " This is not my coat." Henry Darcy 
enters, demanding his coat. " A confederate ! A 
fine pair ! " Mrs. Lemmons discovers that Darcy is 
, an old flame. " You will be Mrs. Darcy as soon as 
you fix the date." Things are readjusted to every- 
body's satisfaction. 



COSTUMES, ETC. 

Henry. About twenty-five. A brisk young man. 
At entrance wears light overcoat and hat over business 
suit. 

Mrs. Sweetly. About twenty. Wears a pretty 
evening house dress. 

Mrs. Lemmons. About forty. Wears handsome 
house dress. 

Darcy. About forty. Wears light overcoat and 
hat over business or evening clothes. 



PROPERTIES 



For Mrs. Sweetly: Book. Handkerchief. Two 
letters. 

For Mrs. Lemmons: Knitting materials. Knit- 
ting bag. Photograph. 

For Henry. Light overcoat and hat. Watch. 

For Darcy. Light overcoat and hat. Watch. 

Other Properties: Clock on mantel. Bell to be 
heard off stage. 



SCENE PLOT 



^^ATAAC/< 




Scene. — Sitting-room or parlor in the Sweetly 
apartment. Doorway up c, showing hall and hat- 
rack. Table with lamp down c. Chair at each side 
of table, and another chair down r. Mantel, or book- 
case if preferred, at l. Clock on mantel. Other fur- 
nishings as desired to make a handsome, comfortable 
room. 



Where Is My Coat? 



SCENE. — Sitting-room or parlor of the Sweetly 
apartment. Door up c, leading to hall. Mantel or 
bookcase l. Table and chairs c. Chair down r. 

(Discovered: Mrs. Sweetly seated r. of table, Mrs. 
Lemmons, knitting, seated L. of table. Mrs. 
Sweetly is making a pretense of reading, but is 
weeping, and dabbing her eyes with a handkerchief. 
Mrs. Lemmons flounces around to look at clock on 
mantel l., then flounces back again with a grim 
snort.) 

Mrs. Sweetly {weeping). What did you say, 
mother ? 

Mrs. Lemmons {savagely). Nothing. But I could 
say a lot. 

Mrs. Sweetly. What time was that struck a few 
minutes ago? {Weeps.) 

Mrs. Lemmons {cramming knitting into bag, and 
rising with a determined air). That, my child, was 
eleven o'clock. {Goes l. and looks at clock.) And 
now it's ten minutes past. 

{Goes up to door c, looks out, and comes down l.) 

Mrs. Sweetly {weeping). Where c-can Hen- 
Henry be? 

Mrs. Lemmons. My child, don't shed another tear. 
There is not a man in this world worth it. Who 
knows it better than I? Tears were of no avail with 
your father, so I used a different argument. 

7 



8 WHERE IS MY COAT ? 

Mrs. Sweetly ( tearfully ) . What was that, mother ? 

Mrs. Lemmons (with grim gesture). Force! I 
took him by the hair, and brought him to terms. 

Mrs. Sweetly. Henry always keeps his cut so — so 
short. 

Mrs. Lemmons. Yes, it's his mean disposition. 

Mrs. Sweetly. He promised to return home at 
ten o'clock. I suppose he's at the c-club. 

Mrs. Lemmons (snorting). Club! When you 
have seen as much of men as I have, you'll have them 
all in the Ananias Club. 

Mrs. Sweetly. Oh, Henry is very truthful. He 
always tells me v/here he's been. 

Mrs. Lemmons. Oh, fudge! All men are born 
fabricators. I wouldn't believe one of them under 
oath. I say it, and I mean it. (Sits l. of table.) 

Mrs. Sweetly. Oh, if he should ever lie to me I 

Mrs. Lemmons (laughing). Lie to you! Why, 
he couldn't speak the truth if he tried. Now, wait and 
see if he does not come home and tell you a wonderful 
fairy story. Your father was a past master in that 
art, but I tripped him up in every yarn he told me, 
and it cost him many a new silk dress or bit of jewelry 
to square himself. Thank goodness, I know where he 
is now. 

Mrs. Sweetly (weeping again). Poor, dear father. 

Mrs. Lemmons. Well, Etta, he's better off than 
deceiving his poor trusting wife all the time. 

Mrs. Sweetly (drying her tears). I do not believe 
that Henry would wilfully deceive me. 

Mrs. Lemmons. Mark what I tell you — he's con- 
cocting some excuse right now, and he thinks you will 
believe it. (Bell rings outside door c.) There's your 
dear truthful husband. 

(Rises and goes l. Mrs. Sweetly rises and stands 
down R. Enter Henry Sweetly, c.) 

Henry. Hullo there, birdie. (Hangs up coat and 
hat on rack, up c, and comes joyfully dozvn r. to Mrs. 
Sweetly.) Tired of waiting for your hubby? 



WHERE IS MY COAT T 9 

Mrs. Sweetly {coldly repulsuig him). Please ex- 
cuse me. I am going to retire. {Goes c.) 

Henry {follozving her, astonished). Why, Etta — 
what's the matter ? 

Mrs. Sweetly. You promised to return home at 
ten o'clock. 

(Mrs. Lemmons looks pleased.) 

Henry {down r. c). So I did — but woitld you 
believe it — my watch had stopped {taking out watch 
and showing it) and soon as I discovered the fact I 
quickly started for home. (Mrs. Lemmons laughs. 
Henry looks at her.) Is there anything comical in a 
watch stopping? 

Mrs. Lemmons. No — it's the comical story you 
tell. Were there no clocks to look at? Did no one 
else have a watch that wasn't stopped ? 

Henry. Now, my dear ladies— I am telling the 
truth. {Puts watch in pocket.) 

(Mrs. Lemmons laughs scornfidly.) 

Mrs. Lemmons. As truthful as a man can be. 
You'd better take your watch to a jeweler. 

Mrs. Sweetly {coldly). Were you at the office 
or at the club? 

Henry. The office, my dear. Potter came over 
from New York to see me, and I had to wait there 
for him. 

Mrs. Lemmons. And then you stopped at the club 
or went to see a sick friend, or missed a car — or some 
little fairy story like that? 

Henry {stiffly). Mrs. Lemmons, I do not have to 
account to you for my actions or whereabouts. 

Mrs. Lemmons {going up l.). It's a lucky thing 
for you that you do not. My poor dead and gone 
husband tried his best to gull me with his yarns and 
stories, and you see where he is. He was punished for 
his wickedness to me. 

Henry {with deep meaning). I trust he is now at 
rest. 



10 WHERE IS MY COAT ? 

Mrs. Sweetly (crossing l. to Mrs. Lemmons). 
Mother! Don't quarrel with Henry. He'll tell me 
the truth or I will punish him myself. 

Mrs. Lemmons. Oh, my poor child! To see you 
abused by a scheming man breaks my heart. ( Weeps 
violently.) Thank Heaven I'm through with the 
men! They'll never he to me again. 

{^Outburst of weeping, zvhich starts Mrs. Sweetly 
weeping again. Henry looks at them both. Crosses 
L., and tries to pacify his wife; she screams at him 
and eludes him.) 

Henry {going r.). All this because my watch 
stopped ! 

Mrs. Sweetly (l. c). Oh! Oh! To think he 
would deceive me this way. 

Mrs. Lemmons (l.). It is mortifying. I wouldn't 
stand for it any longer, Etta. 

Mrs. Sweetly. You are right. Well, he won't go 
out again. (Goes to hat-rack up c, takes the coat and 
feeling in the pockets she discovers two letters.) Ah! 
What's this? Letters! {Comes down l. to Mrs. 
Lemmons.) Look, mother! See what I found in his 
pocket. 

Henry {down ^.^ looks puzzled) . Business letters, 
no doubt. 

Mrs. Lemmons {down l.). No doubt, but your 
wife has a right to see them. I always opened my 
dead Aunt Jane's husband's letters. {Looks at 
letters.) What's this.'^ — a woman's handwriting. 

Mrs. Sweetly (l. c, screams). A woman's hand- 
writing? (Screams again and weeps.) 

Mrs. Lemmons (l.). Certainly — what could you 
expect from a man whose watch has stopped ! (Reads 
one letter.) Oh! Oh! Oh! Oh! Read, my dear, 
read. 

{Nervously hands letter to Mrs. Sweetly and starts 
to read another.) 

Mrs. Sweetly (reading). My darling Henry: — 



WHERE IS MY COAT ? 1 1 

(screams) I am dying to see you. I have so much to 
tell you and I long to imprint a kiss upon your lips and 

tell you how much I have missed Ever yours, 

Mabel. (Screams.) Oh! this is awful. 

Henry (amazed, goes c). What's that — what's 
that ? 

Mrs. Lemmons. And here's another one ! (Hands 
letter to Mrs. Sweetly, who reads its contents.) My 
darling Henr}^ : — Don't fail to be at the appointed place 
at five o'clock Wednesday afternoon. Yours with 
love, and many, many — (Mrs. Sweetly screams) 
from Mabel. Oh ! you deceiving wretch I 

Henry (completely at sea). Mabel! 

Mrs. Lemmons. That's right! Call him anything 
you can think of, my dear. Nothing's too bad for 
him. 

Mrs. Sweetly (to Henry). Oh! You are 
caught — what do you mean, you wretch ? 

(Flourishes the letters under Henry's nose. Mrs. 
Lemmons claps her hands and urges her daughter 
to berate and attack Henry.) 

Henry (c). One moment! One moment, please ! 
First of all, I never saw those letters. 

Mrs. Lemmons (l.). What! Do you deny it — 
when you're caught with the goods? 

Mrs. Sweetly (l. c). Don't add insult to injury 
by trying to tell a barefaced lie, Henry. 

Henry (c). I repeat that I never saw those 
letters. 

Mrs. Lemmons. Tell that to the marines. 

Henry. I swear it, upon my honor. I never saw 
those letters, and they are not mine. 

Mrs. Sweetly. No. They are Mabel's. 

(Puts letters into her dress.) 

Mrs. Lemmons. Yes. Mabel sends you kisses and 
longs to kiss your lips. Your lips, that your poor 
trusting fool of a wife has allowed you to press to her 



12 WHERE IS MY COAT f 

own innocent ones. Oh! Oh! If you belonged to 
me! 

]Mrs. Sweetly. I will appeal to the courts for re- 
dress. Don't come near me or I'll scratch your face. 

{Screams, goes up l. and paces the stage, followed by 
Mrs. Lemmons, who adds to the confusion by 
bidding her daughter drive Henry out or use a 
broom on him. Henry, in despair and bewilder- 
ment, goes R.) 

Mrs. Lemmons (up l.). Let me look at this 
precious coat. Perhaps there is something you over- 
looked. 

(Goes up c, gets coat from rack, and brings it into 
room.) 

Mrs. Sweetly. Oh, there can't be more. What 
we have is too much. 

Mrs. Lemmons (up c). Too much! What do 
you think of this? (Pulls photograph from pocket of 
coat, and holds it up, reading from the back.) Yours 
lovingly, Mabel. (Throws coat on floor.) 

Mrs. Sweetly. What ! 

( She rushes up c. to her mother.) 

Henry (down r.). Well, I'll be darned! 
Mrs. Lemmons (up c). Here she is. This is 
Mabel. 

(Mrs. Sweetly ga^es at the photo.) 

Mrs. Sweetly. I dare say he will tell us he never 
saw this picture before. 

Henry (going l.). I did not. 
Mrs. Lemmons. And you wait. 

(Both women tear up the picture. Mrs. Sweetly 
comes down l. and throws the fragments at 
Henry.) 

Mrs. Sweetly. There's vour dear Mabel. 



WHERE IS MY COAT ? I3 

{She goes hack to her mother, up c, and falls into her 
arms. Both weep violently, while Henry is frantic 
and protesting.) 

Henry (going up l. c). Listen to me — listen, both 
of you. I swear I never saw the photo or letters be- 
fore and some one must have placed them in my coat. 

(Mrs. Lemmons laughs.) 

Mrs. Lemmons. Oh ! what a lame excuse ! 

Mrs. Sweetly. Don't do the baby act, Henry. 
It's too late for that. Some one placed them in your 
pocket, indeed ! 

(Weeps violently and Mrs. Lemmons weeps also. 
Henry picks up and examines the coat, which he 
brings down l.) 

Henry. Why! This is not my coat. (Both 
zvomen look up and exclaim, " What! ") I repeat 
that this is not my coat. There is a serious mistake 
here. 

(Mrs. Sweetly comes down to him and examines the 
coat.) 

Mrs. Sweetly. It's true, mother. This is not 
Henry's coat. Where did you leave your coat? 

Mrs. Lemmons (up c). Not his coat! (She 
comes down l. c. and examines the coat.) Then 
where did you leave your coat? Whose coat is it? 
This makes matters worse. Where have you been? 
Where could you go and leave your coat ? 

(Both women come near Henry and pump the 
questions at him over and over, until he breaks 
away from them and crosses r.) 

Henry (down r.). Stop! Stop! You'll drive 
me crazy ! Let me think ! Oh ! let me think ! 

Mrs. Lemmons. Yes — let him think of another 
beautiful story to tell us. 

Mrs. Sweetly (crossing r. to Henry). No — he 



14 WHERE IS MY COAT ? 

can't tell me any more. Where did you leave your 
coat ? 

(Henry throws coat over chair down R.) 

Henry. In the lunch room next door to our office — 
I went in there for a moment. 

Mrs. Lemmons {coming down c. behind table). 
To have your watch fixed ! 

Henry {imitating her). No — not to have my 
watch fixed — attend to your own clock on the mantel 
there. 

(Mrs. Sweetly goes up r.) 

Mrs. Lemmons. That's always exactly right. I 
attend to it myself. 

Henry. I repeat that I know nothing whatever of 
those letters nor this coat. Some one has stolen my 
coat and left this one in its place. 

Mrs. Sweetly. I do not believe one word of it. 

{Bell rings and Henry Darcy's voice heard outside of 
door c.) 

Darcy {heard off). Is this Mr. Sweetly's apart- 
ment? 

Mrs. Lemmons {going up l.). Why, who's that? 
Henry. Search me. 

{Enter, c, Darcy, who bows politely. He has a coat 
over his arm.) 

Darcy. Mr. Sweetly? 
Henry. That is my name, sir. 

(Darcy hangs hat on rack, holding coat on his arm. 
He bows to ladies. Mrs. Sweetly crosses to her 
mother up l.) 

Darcy {coming down r. to Henry). I obtained 
your address in the lunch room after you had departed 
and taken my coat. 

(Mrs. Lemmons and Mrs. Sweetly laugh.) 



WHERE IS MY COAT ? 1 5 

Mrs. Lemmons. A likely story, and well told by a 
confederate. 

Mrs. Sweetly (to Henry). So you planned to 
have this — gentleman — call here and aid you in your 
deception, eh? (She comes dozvn l.) 

Mrs. Lemmons. That story is too thin! 

Darcy (r. c). What do you mean, madam? I 
did not come here to be insulted. I came here to de- 
nounce the man who has stolen my coat. 

Henry {threateningly). Sir! How dare you in- 
sinuate that 

Darcy. No need to get excited. You took a coat 
from the Star Lunch Room, didn't you? 

Henry. Yes, in mistake for my own. 

Darcy. Well, we will call it a mistake. That coat 
was mine, anyway. 

Henry. H it's your coat perhaps you'll be good 
enough to tell these ladies that the letters and photo- 
graph of Mabel that they found in it are yours also. 

Darcy. May I ask what you know of Mabel ? 

Mrs. Lemmons (coming c. behind table). We 
know enough about her, and we know enough of you 
and Mr. Sweetly. A fine pair of deceitful creatures. 

Darcy. Madam, I do not know your husband, nor 
do I wish to know him. 

Mrs. Lemmons (c). He's not my husband! If 
he were, he would be on his way to a hospital by this 
time. 

Darcy. I don't care to mix in your family jars — 
but I want my coat. HI don't get it in two minutes 
I'll get a policeman. 

Henry (r.). I'm not a thief, sir. Apologize for 
that insult. 

Darcy (r. c). I want my coat, do you hear? 

(They bluster up to each other.) 

Mrs. Lemmons (going to Mrs. Sweetly dozvn l.). 
How well they play their parts, but they cannot deceive 
me ! My husband tried to work all those old bluffs 
on me, but I was too smart for him. 



l6 WHERE IS MY COAT ? 

Darcy. I did not track you to this house to be 
insulted, nor am I to be driven from my purpose. I 
want my coat, and its contents, intact. 

Mrs. Sweetly (l.). There are the letters that my 
husband says he never saw before. 

(Goes L. c. and throws letters on table in front of 
Darcy, who picks them up. She goes behind 
table c.) 

Henry (r.). And there is your coat, sir. (Takes 
coat from chair and gives it to Darcy, who hands 
Henry the coat he is carrying. Henry examines it, 
is satisfied that it belongs to him and throws it on chair 
down R.) And now give me mine! What is your 
name, sir? 

Darcy (r. c). Henry Darcy. 

(Feels in pockets of his coat.) 

Mrs. Lemmons (coming l. c). Henry Darcy! I 
knew a Henry Darcy long ago in Pittsburgh. . 

Darcy. That is my birthplace. 

Mrs. Lemmons. Did you ever know a young lady 
named Abigail Plimpton? 

Darcy. I certainly did! We were sweethearts, 
but she turned me down for a richer fellow named 
Darius Lemmons ! 

(Mrs. Lemmons screams and falls in chair l. of 
table.) 

Mrs. Sweetly (bending over her mother). What 
does it all mean, mother? 

Mrs. Lemmons. It means that Mr. Darcy is my 
old admirer — and — and 

Darcy (r. c). She gave me the mitten, but she 
conferred a favor upon me. I have been an old 
bachelor ever since. (Goes c. near Mrs. Lemmons.) 

Mrs. Lemmons. Oh, Henry Darcy! 

(Rises and falls in his arms.) 



WHERE IS MY COAT? 1 7 

Darcy (r. c). Bless my soul, madam! Why — 
why — it's Abigail ! Where — is — Darius ? 

(Mrs. Sweetly comes down l. c.) 

Mrs. Lemmons (weeping). He's gone! I am a 
widow without — a — husband. 

Darcy. I've often thought of you, Abigail, what 
a sweet, tender, loving girl you were. 

Henry (aside). What a pity she outgrew it! 

Mrs. Lemmons. And I have been thiuKing of you, 
oh, so often! 

Mrs. Sweetly. Don't forget, mother, all men are 
fabricators. You would not believe one under oath. 
They belong in the Ananias Club. 

(Laughs and goes up r.) 

Mrs. Lemmons. Not all of them. 

Henry (r.). Well, I've got my coat, and you've 
got yours — and your letters. 

Mrs. Lemmons (l. c). Oh! Those letters from 
Mabel. Henry, tell me who are they from? 

Darcy (c). From my sister, Mabel. 

Mrs. Sweetly. Oh! Don't believe a story like 
that, mother! (Comes down r.) 

Mrs. Lemmons. Well, I remember that Henry did 
have a younger sister called Mabel, didn't you, Henry ? 

Darcy. Why, certainly. I'll show you her photo- 
graph. (Searches pockets.) Where is that picture 
of Mabel ? I had it in this pocket. 

Mrs. Lemmons. I am ashamed to confess that we 
tore it up. 

Darcy. Tore it up ? Why ? 

Henry (r.). Female jealousy! 

Mrs. Sweetly (l. c). I thought it was an old 
flame of my husband's and that the letters were from 
her also. 

Darcy. My sister Mabel has arrived in town, and 
is anxious to meet me. Look at the address on the 
envelopes and you will see that the letters are ad- 
dressed to Henry Darcy and not Henry Sweetly. 



1 8 WHERE IS MY COAT ? 

{Hands letters to Mrs. Lemmons, and puts coat on 
chair. ) 

Mrs. Lemmons. Never mind about the letters. 
{She throws letters on table.) Mrs. Sweetly is too 
hasty. She suspects her husband without just cause. 

Mrs. Sweetly. Oh, dear! Hold me, Henry! 

{Goes to Henry.) 

Darcy. I am sorry that I have caused you all so 
much trouble. 

Mrs. Lemmons. Oh, not at all, Henry, dear. This 
has been the happiest day of my life. Tm sorry it's 
so late. We might have a little supper together. 

Darcy {looking at watch). Late? Why, it's only 
quarter of ten. 

Mrs. Lemmons. What? {Looks at clock.) 

Henry {to Darcy). Do you mean to say it's only 
quarter of ten now? 

Darcy {showing watch). Certainly. 

{Puts watch in pocket.) 

Henry {to Mrs. Lemmons, as he laughingly points 
to clock). And that's the infallible clock that you 
always look after yourself. 

Mrs. Sweetly {to her husband). Oh, Henry, for- 
give me. 

Henry {putting arm around her). That's all right, 
old girl. 

Darcy (r. c). Well, Abigail, you haven't intro- 
duced me to this lady. 

Mrs. Lemmons. My only daughter. (Mrs. 
Sweetly bows.) And I named her Henrietta, after 
you. 

Darcy. Oh, Abigail ! How much you must have 
thought of me. Why did you ever turn me down? 

Mrs. Lemmons. Well, I might reconsider it now. 

Darcy. Say no more ! You will be Mrs. Darcy 
as soon as you fix the date. 

Henry {laughing). Another poor man gone 



WHERE IS MY COAT ? I9 

wrong. (Aloud.) Well, thanks, old man, for bring- 
ing my coat, for you have brought peace where war 
was raging furiously! 

Darcy (c). Well, that's fine. Everybody satis- 
fied. I've got my own coat, too. 

Mrs. Lemmons (l. c). And your Abigail! 

Mrs. Sweetly (r.). And I've got my own truthful 
Henry. 

Henry (r.). And I've got my own coat — and my 
dear forgiving wife. 



Mrs. Sweetly Darcy 
Henry Mrs. Lemmons 



CURTAIN 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

GRADUATION DAY AT WOOD HILI< SCHOOL. 

An Entertainment in Two Acts, by Ward Macauley. For six 
males and four females, with several minor parts. Time of 
playing, two hours. Modern costumes. Simple interior scenes; 
may be presented in a hall without scenery. The unusual com- 
(bination of a real "entertainment," including music, recitations, 
etc., with an interesting love story. The graduation exercises 
include short speeches, recitations, songs, funny interruptions,^ 
and a comical speech by a country school trustee. Price, 15 
cents. 

EXAMINATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in One Act, by Ward Macauley. Eight male 
and six female characters, with minor parts. Plays one hour. 
Scene, an easy interior, or may be given without scenery. Cos- 
tumes, modern. Miss Marks, the teacher, refuses to marry a 
trustee, who threatens to discharge her. The examination in^ 
eludes recitations and songs, and brings out many funny answers 
to questions. At the close Robert Coleman, an old lover, claims 
the teacher. Very easy and very effective. Price, 15 Cents. 

BACK TO THE COUNTRY STORE. A Rural Enter- 
tainment in Three Acts, by Ward Macauley. For four male 
and five female characters, with some supers. Time, two hours. 
Two scenes, both easy interiors. Can be played effectively with- 
out scenery. Costumes, modern. All the principal parts are 
sure hits. Quiglcy Higginbotham, known as "Quig," a clerk in 
a country store, aspires to be a great author or singer and 
decides to try his fortunes in New York. The last scene is in 
Quig's home. He returns a failure but is offered a partnership 
in the country store. He pops the question in the midst of a 
surprise party given in his honor. Easy to do and Very funny. 
Price, 15 cents. 

THE DISTRICT CONVENTION. A Farcical Sketch 
in One Act, by Frank Dumont. For eleven males and one 
female, or twelve males. Any number of other parts or super- 
numeraries may be added. Plays forty-five minutes. No special 
kcenery is required, and the costumes and properties are all 
easy. The play shows an uproarious political nominating con« 
vention. The climax comes when a woman's rights cham-^ 
pion, captures the convention. There is a great chance to bur- 
lesque modern politics and to work in local gags. Every 
part will make a hit. Price, 15 cents. 

SI SLOCUM'S COUNTRY STORE. An Entertainment 
in One Act, by Frank Dumont. Eleven male and five female 
characters with supernumeraries. Several parts may be doubled. 
Plays one hour. Interior scene, or may he played without set 
scenery. Costumes, modern. The rehearsal for an entertain- 
ment in the village church gives plenty of opportunity foi 
specialty work. A very jolly entertainment of the sort adapted 
to almost any place or occasion. Price, 15 cents. 

THE PENN PUBUSHING COMPANY 

PHILADELPHIA 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

A SURPRISE PARTY AT BRINKLEY'S. An En- 
tertainment in One Scene, by Ward Macauley. Seven male and 
seven female characters. Interior scene, or may be given with- 
out scenery. Costumes, modern. Time, one hour. By the 
author of the popular successes, "Graduation Day at Wood Hill 
School," "Back to the Country Store," etc. The villagers have 
planned a birthday surprise party for Mary^ Brinkley, recentlyj 
graduated from college. They all join in jolly games, songs, 
conundrums, etc., and Mary becomes engaged, which surprises 
the surprisers. The entertainment is a sure success. Price, 15 cent3, 

JONES VS. JINKS. A Mock Trial in One Act, by 
Edward MuMford. Fifteen male and six female characters, with 
supernumeraries if desired. May be played all male. Many of the 
parts (members of the jury, etc.) are small. Scene, a simple 
interior ; may be played without scenery. Costumes, modern. 
Time of playing, one hour. This mock trial has many novel 
features, unusual characters and quick action. Nearly every 
character has a funny entrance and laughable lines. There are 
many rich parts, and fast fun throughout. Price, 15 cents. 

THE SIGHT-SEEING CAR. A Comedy Sketch in One 
A.ct, by Ernest M. Gould, For seven males, two females, or 
may be all male. Parts may be doubled, with quick changes, so 
that four persons may play the sketch. Time, forty-five minutes. 
Simple street scene. Costumes, modern. The superintendent 
■of a sight-seeing automobile engages two men to run the 
machine. A Jew, a farmer, a fat lady and other humorous 
characters give them all kinds of trouble. This is a regular gat- 
ling-gun stream of rollicking repartee. Price, 15 cents. 

THE CASE OF SMYTHE VS. SMITH. An Original 
Mock Trial in One Act, by Frank Dumont. Eighteen males 
and two females, or may be all male. Plays about one hour. 
Scene, a county courtroom ; requires no scenery ; may be played 
in an ordinary hall. Costumes, modern. This entertainment is 
nearly perfect of its kind, and a sure success. It can be easily 
produced in any place or on any occasion, and provides almost 
lany number of good parts. Price, 15 cents. 

THE OLD MAIDS' ASSOCIATION. A Farcical Enter-i 
tainment in One Act, by Louise Latham Wilson. For thirteeni 
females and one male. The male part may be played by a 
female, and the number of characters increased to twenty or 
more. Time, forty minutes. The play requires neither scenery 
nor properties, and very little in the way of costumes. Can 
easily be prepared in one or two rehearsals. Price, 25 cents. 

* BARGAIN DAY AT BLOOMSTEIN'S. A Farcical 
Entertainment in One Act, by Edward MumfoRd. For five males 
and ten females, with supers. Interior scene. Costumes, mod- 
ern. Time, thirty minutes. The characters and the situations 
which arise from their endeavors to buy and sell make rapid-fire 
fun from start to finish. Price, 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Successful Plays for All Girls 

In Selecting Your Next Play Do Not Overlook This List 

YOUNG DOCTOH DEVINE. A Farce in Two Acts, 
by Mrs. E. J. H. Goodfellow. One of the most popular 
plays for girls. For nine female characters. Time in 
playing, thirty minutes. Scenery, ordinary interior. Mod- 
ern costumes. Girls in a boarding-school, learning that a 
young doctor is coming to vaccinate all the pupils, eagerly con- 
sult each other as to the manner of fascinating the physician. 
When the doctor appears upon the scene the pupils discover that 
the physician is a female practitioner. Price, 15 cents. 

SISTER MASONS. A Burlesque in One Act, by Frank 
DuMONT. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior. A grand expose 
of Masonry. Some women profess to learn the secrets of a 
Masonic lodge by hearing their husbands talk in their sleep, 
and they institute a similar organization. Price, 15 cents. 

A COMMANDING POSITION. A Farcical Enter- 
tainment, by Amelia San ford. For seven female char- 
acters and ten or more other ladies and children. Time, one 
hour. Costumes, modern. Scenes, easy interiors and one street 
scene. Marian Young gets tired living with her aunt, Miss 
Skinflint. She decides to "attain a commanding position." 
Marian tries hospital nursing, college settlement work and 
school teaching, but decides to go back to housework. Price, 15 
cents. 

HOW A WOMAN KEEPS A SECRET. A Comedy 
in One Act, by Frank Dumont. For ten female characters. 
Time, half an hour. Scene, an easy interior. Costumes, rnodcrn. 
Mabel Sweetly has just become engaged to Harold, but it's "the 
deepest kind of a secret." Before announcing it they must win 
the approval of Harold's uncle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest friend. 
Maude sees Mabel has a secret, she coaxes and Mabel tells her. 
But Maude lets out the secret in a few minutes to another 
friend and so the secret travels. Price, 15 cents. 

THE OXFORD AFFAIR. A Comedy in Three Acts, 
by Josephine H. Cobb and Jennie E. Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter- 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort. Alice Graham, in order to 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-law, then denounces her. The onerous duties 
of Miss Oxford, who attempts to serve as chaperon to Miss 
Howe and Miss Ashton in the face of many obstacles, furnish 
an evening of rare enjoyment. Price 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



LIBRARY OF CONGRESS 




The Power of E 

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THE NATIONAL SCHOOL OF 
ELOCUTION AND ORATORY 

Parkway Building Philadelphia 



